Erik Satie의 「Cinq nocturnes」중 Iㆍ IIㆍ III의 분석 연구

Abstract

프랑스에서 태어난 Erik Satie(1866-1925)는 그때까지 유럽음악을 지배하던 낭만주의에 반감을 가지고 단순한 음악을 작곡하려고 노력하였다. 그러므로 전통적인 화성적 작곡기법에 따르지 않았으며 악곡의 형식이나 선율의 소재, 화성의 진행방법 등의 면에서 새로운 시도를 함으로써 자신만의 독특한 음악세계를 추구하였다. Satie의 음악을 시기별로 나누어 음악적 특징을 살펴보면 다음과 같이 3시기로 구분된다. 제 1기(1886-1895)는 신비주의와 중세의 영향을 받아 종교적 색채를 지녔다. 제 2기(1897-1915)는 신비화와 기이함의 시기로 익살스러운 표제를 지닌 곡을 많이 작곡하였다. 제 3기(1916-1925)는 풍자적 요소를 제거하고 새로운 스타일을 창출해 내었고, 가구음악을 주창하였다. 제 3기에 작곡된 Satie의 마지막 피아노 작품인 「Cinq Nocturnes(1919)」중 Ⅰ, Ⅱ, Ⅲ곡은 3부형식(A, B, A')의 뚜렷한 구조를 지녔다. B부분은 조성, 박자, 빠르기, 셈여림의 면에서 A와 대조적이며 A'부분은 A의 내용을 변형하며 반복하였다. 이 곡의 리듬은 대부분 8분음표로 되어있고 선율의 소재로는 온음음계, 5음음계, 선법 등을 사용하였다. 또한 7, 9, 11화음들과 4도 음정의 병진행을 사용해서 신비스러운 음향을 느낄 수 있다.;The aim of this thesis is to understand the piano music of Satie by analysing his works Ⅰ, Ⅱ, Ⅲ in 「Cinq Nocturnes」. Satie was born in France, He was opposed Romanticism that had ruled the Europe music arena up to that point. So he pursued his own unique music style through harmony, rhythm, mode and melody. This thesis would like to introduce Saties' life and works according to his three periods, and research the form and composing characteristic of Ⅰ, Ⅱ, Ⅲ in 「Cinq Nocturnes」, which is his representative piano work. The musical style of Satie can be divided according to period. Tn the first period(1886-1895), his works were painted in religious colors because the music was influenced by medieval and mystical ideas. In the second period(1897-1915), he composed works that have humorous titles and this period can be classified as the period of mystification and eccentricity. In the third period(1916-1925), in which he eliminated the satirical factors and created a new style and advocated "musique d'ameublement." An analysis of Ⅰ, Ⅱ, Ⅲ in 「Cinq Nocturnes」 that was composed in 1919 can be summarized as follows: In form, all three pieces are made up of A, B, A'. Modes as well as typical major and minor scale are broadly applied. Sometimes pentatonic and diatonic scales are also used in this music. We can have mystical feelings through parallel progression of seventh chords, ninth chords, eleventh chords, and fourth intervals are also much used. Meanwhile, the tonality appears not as the major and minor keys but as the keys center. In dynamics, great contrasts in "B" part can be seen, except for the third work. As the result of this analysis, we fully understand that Saties' music is neat, clear and simple, and that he has his unique way of musical expression in his music.